-
Period: to
Unit 1 Timeline
-
Beethoven Piano Sonata in F Minor, Op. 2, No. I Mvmt I
Beethoven's first piano sonata
i-v~V/III-III Dependent Transition: Transition containing material from priary theme T(P)
vs.
Independent Transition: Transition with new material -
Pathetique Sonata Mvmts II & III
II (Adagio Cantabile): five-section rondo form (ABACA) III (Allegro): Sonata-rondo form--seven section rondo with sonata characteristics -
Beethoven Piano Sonata in C minor, Op. 13 "Pathetique" Mvmt I
-expansion/modification of 1700 techniques (coda, weighty development using P+S+Intro material)
-fragmentation
-textural inversion
-tonal instability
---CHROMATIC MODULATION VIA DIM.7 REINTERPRETATION!!!
--modulation to distantly related keys (Em=>Cm)
-use of extremely low/extremely high registers
thick chords in low register
-many sforzandos, often not used on downbeat
-chromatic descent in bass/soprano -
Beethoven Symphony No. 3 in Eb Major, Op. 55 ("Eroica") Mvmt I
-intended to be dedicated to Napoleon Bonaparte, but ended up being the "Heroic Symphony--Compoased to celebrate the memory of a great man" because of his disappointment in Napoleon's self-declaration of emperor.
--EXPANSION of sonata form PROPORTIONS
--Thematic Proliferation
--Blurred BOundaries between T, S, and K themes
--C#/Db
--metrical dissonances (often hemiola)
--Development is over 100 MEASURES LONGER than the Expo (Totally unheard of until this point!)
--Coda treated as a SECOND DEV. -
Beethoven Piano Sonata in C Major, Op. 53 ("Waldstein"), Mvmt I
-Large Development
-Extensive Retransition built from simple scalar patterns
-large Coda based on P+S1 themes, Development-like -MOVES FROM:
-Em=>EM with CHROMATIC modulation via MODAL
MIXTURE
-circle of 5ths motion in development -Expositoin built around DISTANTLY related keys (CM & EM)
-Lack of resolution inthe recap: follows complex path (CM--AM/m--CM)
-CODA uses bII6 (Neopolitan) then modulates back to I (CM) for the final cadence -
Beethoven String Quartet in F minor, Op 95 "Serioso"
Mvmt I. Allegro con brio
-ASSIGNMENT 2 (waiting on grade, then write notes) -
Schubert, Erlkonig
MULLER
Narrator, Father, Son, Erlking
-1:Narrator, Gm, frantic triplets (horse-like)
-2: Father/Son/Father, BbM, F=soothing long notes, S=higher frantic dotted rhythms
-3: Erlking, BbM, quiet, lullaby-like, Mkey leeches F's from BbM
-4: Son/Father, V/Gm-Bm-GM,
-5: Erlking, GM-CM, arpegg. soothing
-6: Son/Father, C#m-Dm
-7: Erlking/Son, Gm, galloping returns not nice
-8: Narrator, Gm, Neo in EbM never reaches Dm (Eb Neo=>AbNeo)
i - III - IV - v - (VI) - i -
Rossini, Il Barbiere di Siviglia, Overture/Una Voce Poco Fa
-opera buffa
-social issues, domestic situations, love triangles, plots/schemes
-number opera
-emphasis on VOICE, melismatic
-NO DEVELOPMENT!!!
-LIttle Chromaticism
-clearly tonal
-abcba
-Rossini Crescendo -
Weber, Der Freischutz Overture/Wolf's Glen scene
-Samiel, Max, Caspar
CM - dim.7>Cm - Cm>EbM - GM - AbM~V/Cm - Cm - dim7Cm - CM
I - i - III - V - bVI - V/i - i - i - I
-Sonata form
dim7 = Samiel
Tonal structure of piece outlines Dim7 chord (f#m, cm, EbM, Cm, Am/fm)
-Development
-Germanic
-big brass entrances, heavy, dark
-substantial intro
-CHROMATIC!!
-Harmonically unstable
-LOTS of DIM7 and SECONDARY DOMINANTS -
Schubert Six Musical Moments (moment musicaux), D. 780 (Op. 94)
No. 6 in Ab Major
-Compound Ternary Form
A - B (Trio) - A
-Form: ROUNDED SECTIONAL BINARY (PIP)
-AbM: I - i - bVI - It+6 - V - I
-B section: ENHARMONIC Respellings! (It+6) -
Schubert String Quartet in D minor, D.810 "Death and the Maiden" Mvmt I
3 KEY EXPOSITION
-Dm-FM-Am/m
-Thematic integration
-T(P) -
Symphony No. 9 in D Mvmt II
-dramatic scope and structural weight of the scherzo
-based on the motivic germ from the first movement--INTEGRATION across mvmts
-Expanded form--compound ternary form ABA whose A section may be understood as a complete sonata form (greatly enlarged continuous rounded binary) -
Symphony No. 9 in Dm, Mvmt III
-Hybrid form
-Main theme has FLEXIBLE PHRASE DESIGN
-SIMILARITY: between Main theme and "Pathetique" slow mvmt -chromatic third key relationships
Main theme = BbM
Alternative theme - DM, GM connection to key structure of mvmt I: Dm, BbM, DM(sort of GM at recap) -
Beethoven, Symphony No. 9 in D Minor, Op. 125, Mvmt I
-written when deaf, premiered in Vienna
-Instrumentation added: piccolo, contrabassoon, 4th horn, 3 trombones, trianble, cymbals, bass drum, SATB chorus, 4 vocal soloists (SATB)
TEXT: excerpts from Friedrich von Schiller's "Ode an die Freude" 1785 MVMT I
-sonata form expanded and modified Dm - BbM - DM
-integration of thematic material "unity in ariety, and variety in unity"
-dotted figures, intro germ filled in to become P1, tied figures, legit transition theme (T), new theme in Coda -
Symphony No. 9 in D, Mvmt IV
-Text from Schiller's "Ode to Joy"
-Mixture of high and low styles == EVERYONE's Invited to this party!
-hybrid genre: symphony + concerto + oratorio/opera
-hybrid form/modification of sonata form
-includes fanfares, instrumental recitative, quotes of material from earlier
-double expo
-Main THEME in DM, second THEME GROUP BbM, in RECAP GM (DM, BbM, GM all used in mvmts I&III, showing tonal integration across entire symphony) -
Beethoven String Quartet in A minor, Op. 132 ("Heiliger Dankgesang"), Mvmt III
-chorale-like
-religious
-ABA:
A: F LYDIAN counterpoint, VARIATIONS
B: D MAJOR, faster, MELODY/ACCOMP., diff. mood.
A: (aba) -
Winterreise No. 3: Gefrorne Tranen
-Frozen Tears ("tears falling are so cold they freeze but the place they spring from is so warm it could melt all ice")
-protagonist stirs his frozen limbs and moves on
-THROUGH-COMPOSED with ternary characteristics (ABA)
-STROPHIC
-+6 REINTERPRETATION: mm. 33-36 from AbM=>Fm Stanza 1: fm, tonicizes AbM
Stanza 2: modulates to Abm
Stanza 3: AbM (+6 reint.) => Fm
end: Fm
i-III-iii-III-i -
Winterreise No. 7. Auf dem Flusse
-Frozen stream, frozen heart--a torrent beneath?
-aabba' treated as ternary form: ABA
-(mmMMm')
-Em-Em-EM-EM-Em (i-i-I-I-i) -
Schubert, Winterreise Song Cycle
-24 Songs (Lieder) composed to poems by WILHELM MULLER
-Song Cycle (group of songs with a common theme/usually setting a single poet)
-protagonist is a tragic, dismal, wandering figure No. 3--Gefrorne Tranen
No. 7--Auf dem Flusse
No. 11--Fruhlingstraum -SYLLABIC text setting (not melismatic)
-THROUGH-COMPOSED, (not strophic) -Text painting, accompaniment is important, chromatic techniques heighten expressive effects/changes in moods/perspectives -
Winterreise No. 11, Fruhlingstraum
-Spring Dream
-clash between dream of spring and cold, hard reality, vanished happiness
-two-part form: abc/abc (stanza 1-2-3/stanza 4-5-6)
-AM - Am - AM(modal mixture mm.36-44) - AM - Am - AM (Am:PAC last measure, like reverse picardy third)
-changes in time signature, key, mode, tempo with each stanza -
Schubert, Der Doppelganger
-from Schwanengesang, D. 957
-text by HEINRICH HEINE
-phrase lengths are gradually shortened as the music grows louder
-(20)10+10, (18)9+9, (14)fuzzy division, etc.
-abb'
-vocal range gets higher (reaching high G in mm.41)
-ALTERED DOMINANT CHORDS:
-Vb5/3
-Bass part almost functions as ostinato
-Ger+65 brings back to Bm (also bII6 (5 meas. from end))
-postlude: tonicization of iv (Em), picardy third (BM)
